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Hi everyone, I began a string quartet between the 2nd and final movement of my piano concerto to take my mind out of it. This is the first time i compose seriously for string quartet and would like to know your thoughts... There is only the exposition of the first movement

I declare entrance

Webern? Good grief!! Me? Never. 😄 I once had to listen to his music if listening is the right word. It was for an essay: "How has Webern influenced modern music?" Or something similar. I wrote "He closed off at least one blind alley," and got zero marks for it! Just one of several reasons I chucked college in favour of private tuition which meant I didn't have to write stupid essays! .

Hi @hw1234, You are really active today! Mms 2 is very classical for me. I hope you can use the alberti bass more! In Mms 3you have good use of f and p. The polyrhythm of duplets vs triplets is great as well, and you should use more of it! Mm4 is interesting bt starting in A minor and ending in C major. You can actually group all theae elements to a larger piece! You have the ability to di this! Btw what does Mms mean? Henry

I've been working on this for the past couple of weeks. It's a Theme and Variations for Wind Trio (Flute, Clarinet and Bassoon). It was a melody I liked and it inspired some cool harmony as well so I thought to come up with some variations for it and it snowballed into this piece which is way longer than I planned on making it. To prevent myself from reviewing my own music ... I'll leave it at that, save that I am sure there is plenty to criticize in this piece so don't hold back please! I welcome all your criticisms, suggestions, and observations as always.

Hi Peter, I listened to this through your link from the variation in Gb major. I have to say, I love this variation more and find this more refined!! It's more idiomatic here since it's intended to write for the woodwind trio. The high range of flute is used, bassoon is used for melody, and the texture is more varied here. Even though not every variation has a distinctive dance ascribed to it, I find them more distinctive here! Love it! Your sense of flow is amazing. Everytime I listen to your piece there's a sense of perpetuum mobile in it. You always drive your audiences excitedly through your great sense of rhythm, harmony and texture, and your score is always detailed. It's hard not to be a fan to your music! Regarding the variation itself, I love the modal colour of the thema. It's very nice to use bassoon as the melodic instrument as early as variation 1, with great accompaniment alternating with staccato and legato for flute and clarinet. Very lovely texture here. Variation 2 has nice reverse of the function with flute and clarinet carrying the theme bassoon acting as the countermelody. You then put the theme to clarinet in var.3. I love how noticable the theme is at the same the accompaniment is varied with the triplets, and you give the theme different colours already in a few variations by using different solo instruments. I enjoy the march in var.4 and bassoon is excellent at providing the marching rhythm, though I hope accents can be added to it! Var. 5 is amazing. You first use imitation, then they are playing chords. Very nice contrast of texture. Also there's a sense of development of the theme, first through using different instruments by keeping its entirety, now starting to vary more. I love the less contrapuntal texture in var. 6 as well, and the trills are great with its sound. For me it's great to have homophonic sounds instead of contrapuntal texture all over! In var.7 it's flute and bassoon's turn to pair up and clarinet acts as the countermelody, nice counterpoint after a homophonic one in var.6! Var.8 is great and the perfect fifths and the key itself fit perfectly for a marcia funbre, and var.9 acts as the fleeing of it greatly. It's similar to var.2 with bassoon playing the melody but I love it more here since it's more utterly free with staccato all over. Very nice homophonic texture again in var.10! Your contrast of texture is wonderful in this piece!!! Var 11-14 are all homophonic. You have a great sense of putting the piece to an end here by having the harmonic rhythm faster and faster, then having the excellent coda when the instrumetns attain individuality and end the piece in an amzaing fashion. You really have a great sense of adding drama, structure and planning in this variation, instead of meaingless structure with variations from the same theme hold together by time and score. That's the most difficult thing for me for composing a variation: having a meaningful order and structure of the variations. I really admire your variation skills, Peter! Hopefully I can compose like this one day. Henry

Hello! I found this old arrangement of the Irish tune "Be My Vision" also known as "Be Now My Vision" from when I was assigned to harmonize it in my jazz harmony class in junior college. We were required to use ii - V progressions, planing and tritone substitutions as part of the assignment. The part with the chord names in the pdf is the main assignment and the 4/4 bluesy part that comes after is just my own little extra improvisation that I included and realized in this version. I was inspired to share this with you guys through @Samuel Francis 傅经鸿's request. Listen to his version of the tune here:

Hi Peter, First of all, I love this Irish tune!! It's my all time favourite chorale melody ever when it's in the original(?) E flat major. My 2nd Clarinet Quintet in the same key is partly inspired by that too, partly quoting its melody as the motive. I love this arrangement too. You successfully turn something beautiful to playful and beautiful in another way. I love the 12/8 raggtime arrangement with its swinging rhythm, and your jazz harmony is amazing since I can never get into the world of jazz at all!! Really enjoy this, and thanks for sharing! Henry

@jawoodruff Thanks SO much! Clearly, to say the least, I'm not a violinist. I can easily eliminate the double stops in the orchestral version by distributing them between the primi and secondi. I'll think of a different solution for the violin and piano. Thanks for the notes about bowing and accents. I'll try and find a violinist friend to help me understand better with concrete examples, but in the meantime I'll just us my imagination and re-bow. Looking forward to writing a new version of this sonata with all the invaluable input of @PeterthePapercomPoser, @Henry Ng Tsz Kiu and yours! Thanks!

Hi everyone! I’m a newbie here I’m from Ukraine, Kyiv. I'm the composer & National Music Academy student, Dima Kravets (dersounder). Have experience in music since 5 years old, firstly as a professional pianist, and as a composer later (few years ago). I’m expired by classical, cinematic and contemporary music, playing and composing both. Since Russian-Ukrainian war begun, I feel extremely pain about my Country and our people, about inhuman war we should live with. And it is impossible to imagine our future now without tears on the eyes. I decided to write an orchestral piece about my feelings and what we are living for last month - Freedom and Independence of Ukraine. Honestly, I composed only piano and chamber music pieces before this work (that was a mix of classical-romantic-modern style). Now, as I have no instruments in bomb shelter, I’m trying to Use Logic Pro X to sound my Musical Ideas. Sharing with YOU demo-version of my music musical composition. It is almost complete, but I have some troubles with Mixing and Mastering. I feel this is what I’m not quite good at. Is in unmastered and no-mixed version. So, it will be better to listen it with headphones. Need any of your suggestions, professional advices (both composition and music production), your opinion or just a short comment. I will be grateful for your attention! Link to my music: The Orc Invasion of Kyiv UPD: added a score, generated by Logic Pro. The score is without Drums (as an audio file) and Sound Effects (have no idea how to write down it easily).